My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.

You're not going to have the police force representing the black and brown community, if they've spent the last 30 years busting every son and daughter and father and mother for every piddling drug offense that they've ever done, thus creating a mistrust in the community. But at the same time, you should be able to talk about abuses of power, and you should be able to talk about police brutality and what, in some cases, is as far as I'm concerned, outright murder and outright loss of justice without the police organization targeting you in the way that they have done me.

I mean, of course "King Kong" is a metaphor for the slave trade. I'm not saying the makers of "King Kong" meant it to be that way, but that's what, that's the movie that they made - whether they meant to make it or not.

I felt no obligation to bow to any 21st Century political correctness. What I did feel an obligation to do was to take the 21stCentury viewers and physically transport them back to the ante bellum South in 1858, in Mississippi, and have them look at America for what it was back then. And I wanted it to be shocking.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

I like a much more Japanese style of blood, where it's red and it almost has a paint kind of quality to it. You can put it on metal, and it has this vividness. Because, normally, what they use in Hollywood is this stuff that looks like strawberry pancake syrup or raspberry pancake syrup.

I didnt go to film school, i went to films